Wlnttv Honlron 



Dramatization of Oliver Twist 

In One Act 
By 

Geo. M. Rosener 




PRICE, 25c 



WETZEL, ROSENER, & JAMES 

1402 BROADWAY NEW YORK 






IMP96-007111 



'CI,D 31829 



Under London 

by 
Geo. M. Eosener. ^ 

X Draiiiatizatiou of ''Oliver Twist" in One Act. 



(Coi)uright MCMXIIJ 



NOTICE — The acting rights of this play are re- 
served. This applies to amateurs as well as as i^ro- 
fessionals. Letters to be addressed to the sole own- 
ers, Wetzel, Rosener & James, Eoom 230, 1402 Broad- 
way, N. Y. City. 

CHARACTERS: 

BILL SYKES. 

NANCY SYKES. 

FAGIN. 

MR. BROWNLOW. 

BETSY. 

OLIVER TWIST. 

MR. GRIMWIG. 

SCENE — Garret in the Slums of London. 



DESCRIPTION OF GARRET— House tops; tvindow, 
door, door, table, door, chair, hed, barrel, 
chair, table and chairs. 



A deep toned hell chimes the hour of ten. Slow cur- 
tain; tohen curtain is up various toned hells 
in different parts of the city take up the 
striking of the hour until all the air is filled 
with their music. 



2 UNDER LONDON 

NANCE — (Discovered on the hed, asleep. She aivak- 
ens with a start) Who's there? Ten o'- 
clock by the bells. Oi've been asleep these 
three hoars, (There is a knock at D. I. F. 
Nance is startled and looks ahout to see 
that she is alone; site nnhars door. Brown- 
loic enters.) You, sir? Yon shouldn't 'are 
come here sir. It ain't safe fer neither yon 
nor me. 

BEOWNLO^V — And do you really live in this wretch- 
ed place? 

Nx\NCE — This and the like o' this is the only 'ome 
Oi've ever known. 

BROWNLOW— Why do you look about you so? Is 
there some one here whom you fear? 

NANCE — It's not that sir; only if you, a fine g-en- 
tleman was found here talking- to me, they'd 
• say I was sellin' them to the police and 
Oi'd pay for it with my life. 

BKOWNLOW— Why not tell me where these thieves 
congregate, so that I might notify the po- 
lice? You may then come to my home 
where you will be safe from all harm. 

NANCE— Ah, no, sir. If the others was took. Bill 
would be took with them; Oi'll save little 
Oliver from becom.ing a thief, but that's all 
sir. Oi'll help the boy to escape from here 
so that Oi might have one g-ood deed to my 
credit in Heaven. 

BL'OWNLOW— Where is Oliver now? 

NANCE — (Indicating Room R.) In that room asleep. 

BROWNtLOW— Why not let me take the boy away 
now? 

NANCE — If that boy should escape while Oi was 
here alone they could place the blame on 
me alone. Oi must wait imtil some of the 
others are here and then fina a way to turn 
the boy loose. 

BROWNLOW — How shall I know when you have 
succeeded? 

NANCE — Between now and midnight walk on the 



UNDER LONDON 3 

bridg-e, Oi shall find a way of seeing you 
there. 

I3R0WNL0W — I will do as you wish. And now mj' 
good girl is there nothing I can do for you? 
Cannot you see that sooner or later this 
Bill Sykes will go down to destruction, and 
then do you think that 3'our love for him 
will save him, or prevent you from going the 
same way ? 

NANCE — When ladies good and beautiful who have 
a 'ome and kind friends, will do anj'thing 
for the man they love, then when snch as 
Oi who have no certain roof but the coffin 
lid and friends in sickness or death, but the 
hospital nurse, sets our rotten hearts on a 
man, who can blame us? 

BROWNLOW — If I should try to save this man you 
ilove, would he listen to me? 

NANCE— ^i don't know sir ; Oi'll ask him sometime 
when he is in the humor. 

BEOWNLOW — I hope you will succeed. Can I expect 
the boy to-night? 

NANCE— To-night little Oliver will be free from this 
den of thieves and sleep beneath the roof of 
his friends and some day sir, Oi hope you 
will tell him of poor Nancy w^ho loved him 
for her dead brother's sake and saved him 
from a life that is far worse than death. 

BROWNLOW— It shall be as you wish. (Offers her a 
inirse.) Will you take this? 

NANCE — Not a penny sir ! 

BROWNLOW — It is but a small recompense for this 
great service you have done me. I wush to 
serve you, indeed I do. 

NANCE — You could serve me best, by taking me 
from this place and taking my life at once, 
Oi have felt more grief to think of what Oi 
am, tonight, than Oi ever did before and it 
would be something not to die in the Hell 
in which Oi've lived so long. God bless you 
sir, and may He bring as much happiness 



4 UNDER LONDON 

on your head as Oi've brought shame on 
mine. 

BKOWNLOW— God bless you my girl. Good night. 
(Starts for D I. F.) 

NANCE — Hark ! There is a step on the stairs below. 
Go this way sir, and down the back stairs. 

IIHOWNLOW— I will await you at the bridge. (Exits 
D. D. L.) 

NANCE — Can it he? (Listens) No that is a stranger's 
step. (Goes to D. I. L., icith candle) Be 
careful of the steps whoever j^ou are. There 
ain't much light. 

GllIMWIG— rOj^ stage) Light, light. It's dark. It's 
damn dark. It's as dark as five thousand 
black cats or I'll eat my head. (Enters 
D. I. F.) Phew, I say phew ! Uo you live 
here? eh? 

NANCE— Yes sir. 

GIUMWIG — Was there a gentleman here a mo- 
ment ago, a white haired gentleman, my 
friend Brownlow — don't lie to me, I know 
he was here, I saw him enter this house or 
I'll eat mv head. 

NANCE— What sir? 

GEIMWIG — I said that I would eat my head, and 
I'll eat yours also if you say two words 
to me. 

NANCE — What is it you wish sir? 

GRIMWIG — I want my friend Brownlow. I saw 
him enter here. W^hat have you done with 
him, eh? What have you done with him, have 
you eaten him? Bah ! He came here in search 
of that confounded relation of his, Oliver 
Twist I can't see why he wants to save 
that boy from becoming a thief ; all boys 
are thieves and if Brownlow rescues this 
Oliver from these kidnapjDers, when he 
grows to be a man, he will cut all our 
throats as we live a beau some night. He 
will or I'll eat my head. 

NANCE — Mr. Brownlow has gone sir. Won't you 



UNDER LONDON 5 

please go? 

GEi:\IWIG— My friend Brownlow is a fool, I'm a 
fool, you're a fool. Why doesn't Brown- 
low notify the police? They're a pretty 
parcel of fools, and then we could all be a 
set of comfortable fools together. 

NANCE — Won't you please go sir? 

GKIMWIG — I suppose this is 'a den of thieves like 
we read in the papers? I don't believe 
there is such a place in London Lies, lies ! 
All lies or I'll eat my head. How do I get 
out of here? 

NANCE— rA^ D. D. L) This way, sir. 

GIiI^NIWIG — Thank j'ou, here's some money. 

NANCE— Thank you, but I— 

GEIMWIG — Don't you say you don't want it, be- 
cause you do. You do, oi* I'll eat my 
head. Is this the way out? 

NANCE— Yes, sir. (With candle) Oi'll light you 
down the stairs. (Grimtcig throtvs money on 
the table and exits D. D. L. Nancy stands 
in door way talking ad. lib., until Grinncig 
is well off). 

FAGIN — (Enters D. I. L.) Good evening, my dear. 
(Nance turns quickly) Vos you talking 
to some von? 

NANCE — Yes, I was talking to myself. (Picks up 
money from the table without Fagin see- 
ing her. Takes a long drink from bottle 
and rocks herself back and forth as she sits 
R. of table.) 

FAGIN — And vere vould you say Bill vos now my 
dear? 

NANCE — He should be 'ome by now. For three 
weeks the fever has had him and wrecked 
his body. Poor Bill. 

FAGIN— Too bad, too bad. And little Oliver, have 
you got him safe my dear? 

NANCE — Aye, safe enough. 

FAGIN — That's right my dear, keep him so ; ve 
shall get money ven vonce ve have made 



6 UNDER LONDON 

him a thief. 

NANCE — Why do you wish to see that boy a thief? 

FAGIN — A certain man died and left a will. In dis 
vill little Oliver's name was mentioned, but 
if he should turn out bad, he vos to get not 
a shilling" and the whole fortune vos to go 
to another gentleman ; now this gentleman 
vill pay us good money if ve take care that 
de boy turns out bad. (Nancy leans over ta- 
J)lc deeply interested) This gentleman who's 
name is — 

NANCE— Well, what's the rest of it? 

FAGIN — The rest of it is my pisuess my dear, only 
ve must make de boy a thief. 

NANCE — Before that day comes I 'opes to see the 
boy's young bones a rottin' in some way- 
side ditch. 

FAGIN— Vot? 

NANCE — Aye, Oi do Fagin, Oi should be glad to have 
the boy away from my eyes and know the 
worst is over. Oi can't bear to have him 
about me, the sight of his childish face 
turns me again meself and all of you. 
(Fagin looks at her sharply, Nance catches 
his eye and realizing that she has said too 
much she pretends to stagger as if intom- 
cated.) 

FAGIN— You're drunk. 

NANCE — Am 01? It ain't no fault of yours if Oi 
ain't ; you'd never have me anything else 
if you had your way. 

FAGIN — Listen to me you drab, I tell you plain- 
ly I don't trust the boy in your hands? 

NANCE— Well? 

FAGIN — Yell? When the boy is worth a hundred 
pounds to me am I to lose it because a vo- 
man gets chicken hearted or through a 
drunken gang that I could vid six words 
send to de gallows? (Fagin has toorked him- 
self into a rage and it note heing his turn 
to realize that he has said too much He im- 



UNDER LONDOy 7 

)nc(liatclij calms doion.) 

CANCE— What's all this? 

^AGIN — Nothing-, nothing my dear. I vos only try- 
ing to frighten you. I ani a little cross my 
dear. This damp weather has got into my 
bones. I vill get something at the corner 
to varm me vith. I shall look in again. 
Give my respects to Bill, my dear, and take 
good care of yonr precious self. (At D. I. F., 
as if to himself) She is up to some mis- 
chief. I vill vatch her. (To Nancy) Good 
night, my dear. (Exits D. I. F.) 

s^ANCE — I \Yonder if he suspects? I must lay my 
plans at once. (She takes a revolver from 
under the barrel, goes to D. U. B. and calls 
softly) Oliver! 

)IA\FJR— (Enters D. U. R.) Yes, Nancy. 

L\NCE — When Bill comes home I shall see that he 
goes to sleep. You must then come out and 
escape by yonder window, hide behind the 
last shimnet pot. Oi will tell your friends 
where you are. Do you understand? 

HJVER— Yes, Nancy. 

[ANCE — (Gives him revolver) Now take this and 
hide it beneath your jacket and if Fagin 
'tries to stop you, use it, you know how? 

iLIVER — I think so, Nancy. 

lANCE — Hark ! Some one is coming. Go. 

aAyEIl—(Ej-its D. U. R.) 

)OJ}G^^~-^( Enters D. I. L.) 'Ello, Nancy, my hie 
wot's ailin' you? 

rANCE — Oi ain't ailin'. What's the reason you ask? 

)ODGEE — Your face is as white as a mile stone and 
as long as a water butt. 

lANCY — Ain't nothing the matter with me. (Exits 
D. U. L.) 

>ODGER — Blow my hies but she's hall done hup. 
Poor girl, three watchin' along o' Bill's 
fever has done for her. 

lETSY — (Off stage) Hi some one show a light or 
Hi'm hall hat sea. 



8 UXDER LONDOy 

DODGEE — Here comes that pretty creetur Betsy. 
Oh, she's a precious bundle o' beauty, she is. 

BETSY — (Enters D. I. F.) Is there anyone at 'ome? 

DODGER — Xo one except the Lord Mayor o' Lon- 
don. (Puts his thumbs into the arm i^its of 
his coat.) 

BETSY— My hie, hif hit hain't the hartful Dodger. 
Hain't it the hartful that Hi sees? 

DOBGEFt— (Sniffs in contempt.) 

BETSY — Ho, ho. Dodger you will be the undoin' of 
me, that you will. (Laughs loundcr than 
ever.) 

DODGEE — Don't you just wig-gle so much my girl 
or you'll come undone afor you knows it. 

BETSY — Now hain't that clever. Hi allers says, 
says Hi, for a witty remark, or a comic 
song, says Hi, give me the hartful Dodger. 

DODGEE — Hi says me girl, what are you arter? 

BP]TSY — Hi just dropped hin to see what was hin the 
wind. 

DODGEE— Eh? What do you mean by that? 

BETSY — Hit's the jew. As Hi came by a moment 
ago Hi saw him bitin his finger nails and 
a lookin' somethin' dreadful. Hi knows 
'im too long not to know when 'e is hup 
to mischief. 

DODGEE- -'Es hup to do Nancy a mischief, that's 
hit, mark my words Betsy, hif 'e or any of 
the others does the girl a 'arm, Hi'll give 
them hup to the police, so 'elp me. 

BETSY — Hi've got enough blunt for you and me to 
'ave a pot o' porter, we'll get them at the 
pub and then we'll come back and see that 
no 'arm comes to Nancv. 

DODGEE— That we will. Sh, (Looks Toivard D. D. 
L.J My life, that's the bold fence now a 
creepin hup the back stairs. Hi can tell 
im by the weezin' o' his breath. (They exit 
D. I. F.) 

OLIVEE — (Comes creeping on from D. U. RJ 

FAGIN — (Enters D. D. L.) Veil, vere are you go- 



UNDER LONDON 9 

ing? 

OLIVER — I was a looking' for my cap sir. 

FAGIN — Your cap, eh? You vos trying to run away. 

OLIVER— No sir, honest. 

FAGIN — I'll teach you to lie to me. (He picks up a 
ipiece of tvood and starts for Oliver who 
runs off D. U. L.) 

OLIVER— Nancy ! Nancy ! 

FAGIN — '(Attempts to foUoio Oliver. Nancy conies 
from D. U. L.) I'll teach you; I'll teach you! 

NANCE— Well? 

FAGIN — Stand aside. I want to see the boy. 

NANCE — ^You don't lay a hand on him Fagie, aye, 
not a finger. You made him a liar and a 
devil and all that's bad. Ain't that enough 
without blows? 

FAGIN — Just as you say my dear, 

yiA'SC^— (Throws herself in chair L. of tahle) Then 
let it be so. 

FAGIN — Vot's the matter, are you ill my dear? 

NANCE — No, I was just thinking. 

FAGIN— Tinking? Tinking about vot? 

NANCE— About me soul. 

FAGIN — So you are tinking on souls to-night? 

NANCE — Yes. Do you ever think of yours? 

FAGIN — Sometimes I tink on von ting — sometimes on 
a nudder. 

NANCE— Sometime you will think of your soul. 

FAGIN — And ven vill dot be, Nancy my dear? 

NANCY — When? When you stand on the gallows and 
the black cap is drawn over your head ; 
then you'll think of your soul and of me 
fer havin' told you of it. (Fagin holds the 
candle before her eyes) Well, what are you 
staring at? 

FAGIN — I vos tinkin' of a dream I had last night. 

NANCE— Well? 

FAGIN — I dreamed you vent to London Bridge. 
('Nance starts) I dreamed dot you meet peo- 
ple there and dot \o\\ betray us all to the 
police. 



10 UNDER LONDON 

NANCE — (In dvaflhj fear. Laughs JiijstcricaUjj.) 

FAGIN — You are cleverer dan ever. You are acting 
beautifully, my dear. 

NANCE — ^Am I? Then look out oi don't over do it. 
You'll be the worse for it if Oi do, Fagie, 
and so oi'ni tellin' you. 

FAGIN — Suppose I tell Bill dot you betray us to the 
police? 

NANCE— But Oi haven't; 'ave I? 

FAGIN — But suppose I tell him dot you have. Vot 
den? 

NANCE— Yot then? Yot then? Then Oi'd put a mark 
upon you, Fagie, that would send me to the 
gallows afore my time. 

FAGIN — Keep off, Nance, or I vill do you mischief 
vorse dan dot. Civil vords, Nance. Ye must 
have civil vords. 

NANCE— Civil vords! Civil vords, you old villin ! 
Do you deserve them from me? Whj', Oi 
thieved fer you when Oi wasn't 'alf as old 
as Oliver, and Oi've been in the same trade, 
in the same service, these ten long years. 
Don't 5^ou know it? Speak out! Don't you 
know it? 

FAGIN — Yell, vot if you have? It's been j^our livin' ; 
ai'nt it? 

NANCE — Aye, it has been my livin'. And the cold, 
wet, dirty streets has been my home, and 
you're the w retch that sent me there, and w ill 
keep me there, day and night, night and day, 
until I die. Until I die. (Exits D. IL, icecp- 
ing hysterically.) 
FAGIN — If I vos only sure dot she vould meet de 
boy's people on de bridge, I vould have some- 
thing to vork on. I could den tell Bill dot 
she betraj^s us to the police. I hate her. I 
hate her more every day. Yate ; Bill vill fix 
her. He shall hear about this. Bill vill fix 
her. Bill vill fix her. (Exits D. I. F.) 
^ANCF,--{( Enters D. R.) He's gone; thank Heaven. 



UNDER LONDON 11 

Oh, if this night was only over. He knows 
that Oi'm going* to help the boy to escape ; I 
can feel it in my bones. Hark ! There's Bill 
now ! (Cals off D. V. L.) Oliver. Oliver, my >- 
boy. Bill is coming. Look sharp. 

BILL — (Throws open the D. I. F. He is weak from 
the fever.) 

NANCE — Ah, Bill, j^ou 'ave come home? 

BILL— Wot time is hit? 

NANCE — It's turned ten this half hour. How do you 
feel to-nig'ht? 

BILL — As weak as water. 'Ere, lend a hand and get 
me to that bed. 

'NA'NCE~( Helping Bill) Yes, Bill. Come on, 

BILL — (Roughly) Go easy, Hi tells yer. 

^ANC^—(Hurt) Yes, Bill. 

BILL — Don't stand there snivilin'. Hif you can't do 
better than that cut hoff altogether or Hi'U 
see that you do. 

NANCE — You don't mean to say that you'd be hard 
on me to-night. Bill? 

BILL— No? Why not? 

NANCE — ^Such a number o' nights as Oi've been pa- 
tient with you, a-nursing of you and a-caring 
of you if you was a child ; and this the first 
Oi've seen you like yourself; you wouldn't 
have served me as you did just now if you 
had thought of that. Vould you? Come, 
Bill, say you vouldn't. 

BILL — Veil, then, Hi wouldn't Why, damme, now 

the girl's whinin' again. 

NANCE — Don't mind me, Bill ; it will soon be over. 

BILL — (Suspiciously) Wot will soon be over? Wot 
are you up to now? Don't come over me 
with any of your w Oman's nonsense. 'Ere, 
give me a drink. (Bill is on hed.) 

NANCE (Pours out a cupful of liquor and drugs it) 
Here you are. Bill. 

BILL — (Takes a drink and spits it out) Bah! Wot's 



12 UNDER LONDON 

the matter with the stuff? 

NANCE— What— what is the matter with it, Bill. 

BILL — Why, burn my body, you look like a corpse. 
Wot's the matter? 'Ere; w^ot is it? 

NANCE— Why, nothing, Bill. 

BILL — Why, wot are you up to? Wot are \^ou 
thinkin' of? 

NANCE— Of many things. Bill. But, Lor', what odds 
is that?' 

BILL — Hi'll tell you wot it is. Hif you ai'nt caught 
the fever, you've got it comin' hon, or there's 
something dangeroiis in the wind. You're 
not a goin' — to — to — to^ — 

NANCE— Not a' goin' to what. Bill? 

BILL — (DrinlxS the liquor) You're not a goin' to be- 
tray — No — damme you wouldn't do that — 
she's got the fever comin' on ; that's what it 
is — you wouldn't do that — no — no — you — 
you — (Falls haclc asleep). 

NANCE— rCf/77.<? off to Oliver) Now, Oliver, now. I 
shall see your friends and tell them that you 
have escaped. (Exits D. D. L.) 

OLIVER — (Enters from D. TJ. L. He lool's ahout him. 
He eseapes hy the window.) 

FAGJ'N— (Enters D. D. L.) It's de truth. I saw her 
go toward de bridge. I saw de boy's people 
come to meet her. Now I can tell Bill (Sees 
Bill asleep) Bill. Bill. (PiclxS up enp and 
smells it) Ah; I thought so. Laudanum. 
(Tastes it) Ah; but she didn't make it 
strong enough. I can vake him. (Shakes 
Bill) Here, Bill. Here, Bill; vake up. 

BILL — ^Wot his hit? Wot his hit now. you old fool? 
Is the man gone mad? 

FAGIN— We have been betrayed. Bill. 

BILL— Wot? Tell me who it is. 

FAGIN — Suppose it vos 

BILL — Tell me who it is afore I murder you. 

FAGIN — It vos Nance. See; she gives vou Laii- 



UNDER LONDON 13 

danum. She meets fine people ; she — 

BILL— That's enough. Hell's fire, that's enough. 

FAGm—(Hohlhig Bill hy the coat) Don't be too 
violent, Bill. 

BILL — Let go of me. (There is a struggle. Bill 
throws Fagin D. R. and bars the door) Stay 
in there, you old fence, until Hi settle with 
her (E.Joits D. I. F.j 

:^A^C'E~(E liters D. D. L.) It's done. I didn't have to 
go to the bridge. I only pointed to the roof 
and the boy's people seemed to understand. 
(kiees that Bill has gone) Bill! The drug 

wasn't strong enough. It can't be He's 

only gone out to get the air. Ah, if I could 
only remember the prayer the boy tried to 
teach me? Our Father which are in heaven 
— Oh, I can't say it. Suppose someone saw 
me and should tell Bill that I betraj^ed them 
all to the police? Ah, Bill wouldn't believe 
it. He knows me better than that. But sup- 
pose Bill should believe them? He would kill 
me. He'd kill me ; I knows it ; and I'm afraid 
to die. I'm afraid to die. (Sinks hack on 
hed. Covers her head and sleeps.) 

BILL— (Enters D. I. F.) 'Ere get hup. Get hup! 

NANCE— Is that you. Bill? 

Bill— Hit his. Get hup ! 

NANCE — It's getting dark. I'll light another candle. 

BILL — Let 'em be. There's light enough for what 
Hi've got to do. 

NANCE— Why do you look at me like that, Bill? 
Si)eak to me and tell me what I've done? 

BILL — You she devil. You know very well wot you've 
done. You was watched to-night. Hevery 
step you took was seen. Hevery word you 
said was 'erd. 

NANCE — Then spare my life, Bill, as I've spared 
yours. 

BILL — You betrayed us all to the police. 



14 UNDER LONDON 

NANCE— No. 

BILL — Fag^in tells me so. 

NANCE— No. No ! 

BILL~And for that • 

NANCE— No, Bill. No. 

BILL — Hi'll crush your 'ed beneath the sole of me 
boot into as many pieces as you 'ave 'airs on 
your 'ed. 

NANCE — Them good, kind people told me it was never 
too late to mend. They told me of a furrin 
land where you and me could go and spend 
the rest of our lives in peace. But I must 
have time. Bill. Just a little time. 

BILL — Not another minute. 

NANCE — Bill I haven't betrayed you. I've been true 
to 5^ou, Bill, upon my g"uilty soul I have. 
(She drops to her l^necs. Bill heats her loith 
his revolver and drags her off D. U. L. hy the 
hair. He is heard heating her off stage, and 
she is heard moaning.) 

lyOBG'ElB— (Enters D. I. F.) Wot's goin' on 'ere? (He 
looks off D. U. L.) 'Es murderin' her. (To 
window) 'E\p I 'Elp! Police! 'Ere, let her 
be. Let her be, you brute. (Exits D. U. L. 
A struggle hetween Bill and the Dodger 
takes r>lace off D. U. L.) 

BILL — (Enters and hars the door) Stay in there 
with her, vou 3'oung 'ell 'ound. 

VOICES— /Are heard off stage). 

BILL— (Bars D. I. F.J 

VOICES — Open; open, in the name of the King. 

BILL — Ha, hi ai'nt to be took so eas3^ 

VOICES — (Continue to call and hammer on the 
doors.) 

BILL — The window. Hi'll get away by that. (He 
creeps along the wall. He mounts a chair 
and is ahout to get through the tvindow. A 
shot is heard. Bill falls. Oliver appears 
at the window ivith a smoking pistol in his 
hand. (The Curtain.) 



r 



PRINT OF J. B. SHUFELDT & CO. 
BRONX, NEW YORK CITY 



DEC '81 Wt 
PiikliqVi^fl One Act Dl^w^l^i.- 

1 UUllbllt^a __ ^jg^^j^Y OF CONGRESS 

PRICE, 2J 



No. 




016 103 829 5* 



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75 A Mile with a Fool — Comedy Cross Fire 2 M 

76 He and She — Comedy Cross Fire 1 M 1 F 

80 The Veterans 2 M 

78 An Obstinate Family— Co mcf/ify 3 M 3 F 

67 A Modern Othello— Farce 2M2F 



24 The Mischief Maker — Domestic Farce 

in 4 Acts (50c a copy) 6 M 5 F 

74 How to Write a Moving Picture Play 25c 



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